NA 


THE  LIBRARY 

OF 

THE  UNIVERSITY 
OF  CALIFORNIA 

LOS  ANGELES 

IN  MEMORY  OF 
EDWIN  CORLE 

PRESENTED  BY 
JEAN  CORLE 


GREAT  ENGRAVERS:  EDITED  BY  ARTHUR  M.  HIND 


PROFILE  BUST  OP  A  YOUNG 
WOMAN.    P.V.  180,  1 


After  Leonardo  da  Vinci 


ANDREA 
MANTEGNA 

AND        THE        ITALIAN 
PRE-RAPHAELITE  ENGRAVERS 


FREDERICK     A.    STOKES     COMPANY 
NEW  YORK  PUBLISHERS 


BARTSCH,  Adam  von.     Le  Peintre-graveur.     Vol.  XIII.     Vienna  i8il 

DUCHESNE,  J.     Essai  sur  les  Nielles.      Paris  1826 

RUMOHR,  C.  F.  von.     Untcrsuchung  der  Griinde  fiir  die  Annahme   dass 

Maso  di  Finiguerra  Erfinder  des  Handgriffes  sei,  gestochene  Metall- 

platten  auf  genetztes  Papier  abzudrucken.     Leipzig  1841 
PASSAVANT,  J.  D.      Le  Peintre-graveiir.      Vols.  I  and  V  (Leipzig  1860-64) 
KOLLOFF,  E.     See  Julius  Meyer,   Allgemeines   Kiinstler-lexikon    (Vol.    II, 

1878,  under  Baldini) 
DELABORDE,   Henri.     La    Gravure  en   Italic    avant    Marcantoine    (14.52— 

1505).     Paris  [1882] 
DUTUIT,    Eugene.     Manuel   de   1'Amateur.     Tom.    I,    2°  partie   (Nielles). 

Paris  1888 
KRISTELIER,  Paul.     Sulle  origini  dell'  incisione  in  rame  in  Italia.     ArcHv'io 

Storico  deli'  Arte.     VI  (1893),  391 
Italienische    Niello-drucke    und    der    Kupferstich.      Jakrbuch    aer   kg/. 

Preuss.  Kunstsammlungen.     XV  (1894.),  94 
Der  Venezianische   Kupferstich    im  XV  Jahrhundert.     Mittellungen  der 

Gese  Use  haft  fiir  vervlelfaltigende  K^unst,  1907,  No.  I 
Florentinische    Zierstiicke    in    Kupferstich    aus   dem   XV  Jahrhundert. 

Graphische  Gesellschaft.      Berlin 

Die  Tarocchi.      Graphische  Gescllschaft,     Berlin  1910 

LIPPMANN,  F.     The  Planets.     International  Chalcographical  Society,  1895 
COLVIN,  Sidney.     A  Florentine  Picture-Chronicle ...  by  Maso  Finiguerra. 

London  1898 
HIND,  A.  M.,  ed.  Sidney  Colvin,  Catalogue  of  Early  Italian  Engravings  in 

the  British  Museum.      2  vols.  (text  and  plates).      1910 


ANDREA  MANTEGNA 

NO  period  or  school  of  engraving  offers  more  attraction  to  the 
searcher  after  the  rare  and  the   beautiful  in   its   less  popular 
forms    than    that  of  Italy  in  the  fifteenth   century.      It   is 
hardly  the  field  for  the  private  collector,  for  good  examples 
of  its  earliest  masters  are  of  the  utmost  rarity  and  in   many  cases 
unique  ;    but    the  amateur  who  is  content  to  appreciate  the  good 
things  preserved  for  him   in  museums  will  find  enjoyment  of  the 
keenest  flavour  in  its  study. 

London,  Paris,  and  Vienna  have  by  far  the  richest  collections  of 
prints  of  this  school,  and  the  collection  of  Baron  Edmond  de 
Rothschild  in  Paris  is  the  only  other  of  comparable  value,  but 
Florence,  Rome,  Berlin,  and  Dresden  all  possess  sufficient  treasures 
to  satisfy  the  student. 

The  extreme  rarity  of  the  earliest  prints  has  rendered  a  compara- 
tive study  of  the  school  a  difficult  task,  and  its  history  is  still 
enveloped  in  considerable  obscurity.  Much  of  the  work  remains 
anonymous,  and  the  historian  has  to  be  content  with  grouping  many  of 
its  examples  according  to  the  style  of  engraving  or  design.  Few  of  the 
great  painters  of  the  period  seem  to  have  taken  any  immediate  part 
in  engraving,  except  in  supplying  designs  to  the  lesser  craftsmen. 
Mantegna  is  the  one  great  exception,  for  the  attempts  to  attribute  the 
production  of  Florentine  engravings  to  Filippo  Lippi  and  Botticelli 
are  quite  without  foundation.  In  fact  the  earliest  Italian  prints  are 
largely  the  work  of  craftsmen  of  quite  secondary  rank.  But  the 
Italian  craftsmen  were  artists  of  independence,  and  never  mere  tools 
in  the  hands  of  the  greater  masters.  And  the  wonder  of  the  early 
Renaissance  in  Italy  is  that  so  many  secondary  artists  were  able  to 
express  the  same  indefinable  charm  and  freshness  of  outlook  that 
pervade  the  greater  masterpieces. 

The  earliest  engravings  in  Germany  and  in  the  North  of  Europe 
largely  consisted  of  pictures  of  saints,  illustrations  of  the  Passion  of 
Christ,  and  little  devotional  prints  scattered  broadcast  from  the  con- 
vents, with  far  more  thought  for  their  missionary  uses  than  for  their 
artistic  value.  A  considerable  number  of  the  early  Italian  engravings 
were  likewise  devotional  prints  and  illustrations  of  the  lives  of  the 
saints,  but  the  Renaissance  in  Italy  had  opened  up  many  new  channels 
of  thought,  and  in  a  country  with  an  awakened  sense  of  beauty, 
where  art  was  recognised  as  having  ideals  apart  from  the  service  of 
the  church,  the  artists  commanded  a  far  more  liberal  range  of 

5 


2037956 


GREAT  ENGRAVERS 

subject.  Their  own  great  poets,  Dante  and  Petrarch, [and  the  great 
writers  of  Paganism,  who  were  beginning  to  be  read  with  so  much 
ardour,  afforded  them  many  subjects  outside  the  Bible  ;  while  prints  of 
amorous  and  decorative  subjects,  sold  to  embellish  the  spice  and  jewel 
boxes  presented  by  the  gallant  to  his  mistress,  and  illustrations  of  current 
astrological  lore  add  the  flavour  of  variety  that  is  lacking  in  the  North. 

Vasari  in  his  "Lives  of  the  Painters,"  first  published  in  1550, 
attributed  the  discovery  of  engraving  about  the  year  1460  to  a 
Florentine  goldsmith,  Maso  Finiguerra.  Modern  research  has 
definitely  proved  that  certain  Northern  engravings  were  produced 
before  1445,  and  has  rendered  it  probable  that  the  art  was  practised 
at  least  a  decade  before  that  date.  Now  Finiguerra  was  only  born  in 
1426,  and  although  he  was  working  as  a  goldsmith  in  1447,  it  is 
unlikely  that  any  of  his  engravings  date  before  the  last  ten  years  of 
his  life,  which  ended  in  1464.  What  his  engravings  are,  has  until 
recently  been  a  matter  of  complete  obscurity,  and  the  failure  of 
Vasari's  tradition  in  one  part  has  induced  certain  critics  to  doubt  the 
rest  of  his  statement,  and  call  into  question  the  very  existence  of  any 
engravings  by  Finiguerra  at  all. 

It  is  the  especial  merit  of  Sir  Sidney  Colvin  to  have  recovered  the 
name  of  Finiguerra  from  this  fairy-tale  atmosphere,  and  by  a  re- 
markably secure  chain  of  reasoning  to  have  attributed  to  him  or  his 
workshop  a  group  of  early  Florentine  prints,  which  have  hitherto 
remained  anonymous,  or  catalogued  under  the  hospitable  name  of 
Baccio  Baldini. 

Vasari  states  that  Finiguerra,  who  was  one  of  the  most  famous 
workers  in  niello  of  his  time,  made  the  discovery  of  printing-  on 
paper  from  engraved  plates  by  a  mere  chance  in  the  course  of  his 
practice  of  that  art. 

Now  the  niello  is  a  small  plate,  generally  of  silver,  on  which  the 
design  is  shown  in  black  like  the  name  on  a  brass  door-plate.  The 
method  of  work  is  to  cut  lines  or  spaces  on  the  plate  for  the  design, 
and  fill  these  by  the  fusion  of  a  black  composition  formed  of  copper, 
silver,  lead,  and  sulphur  (nigellum,  niello).  The  art  was  known  for 
the  simpler  forms  of  decoration  in  antiquity,  and  practised  to  some 
extent  during  the  Middle  Ages,  but  it  only  sprang  into  any  popu- 
larity about  the  middle  of  the  fifteenth  century  in  Florence  and 
Bologna  (to  die  out  again  early  in  the  next  century),  and  it  had 
never  been  used  for  elaborate  figure-subjects  before  this  time. 

To  test  his  work  before  completion,  the  niellist  was  accustomed 
to  take  sulphur  casts.  The  lines  being  filled  with  ink  show  up  the 
6 


ANDREA  MANTEGNA 

design  on  the  bright  surface  of  the  sulphur  even  more  clearly  than  a 
paper  impression.  The  most  perfect  of  these  sulphur  casts  in 
existence  (and  they  are  of  extreme  rarity)  is  the  Coronation  of  the 
Virgin  in  the  British  Museum  (i).  It  is  a  cast  from  the  celebrated 
niello  pax  preserved  in  the  National  Museum,  Florence.  For  a  long 
time  (but  only  since  the  middle  of  the  eighteenth  century)  it  was 
quite  wrongly  attributed  to  Finiguerra,  but  it  is  evidently  the  work 
of  Matteo  Dei,  and  very  closely  reflects  the  style  of  Filippo  Lippi. 
The  pax  which  Finiguerra  is  known  to  have  supplied  to  the 
Baptistery  of  St.  John  in  1452  is  almost  certainly  another  of  the 
niello  plates  in  Florence,  a  Crucifixion  with  the  City  walls  in  the  Back- 
groundy  much  coarser  in  technique,  and  nearer  in  style  to  Pollaiuolo. 

Besides  taking  casts  on  sulphur,  the  niellist  proved  his  work  by 
taking  impressions  on  paper.  Several  of  these  impressions  are  shown 
in  our  plates,  two  examples  of  Florentine  work,*  and  six  Bolognese, 
one  of  which  is  probably  by  the  famous  goldsmith  and  painter 
Francesco  Francia.  In  general  the  Florentine  work  is  the  more 
clearly  and  deeply  cut,  while  the  Bolognese  nielli  are  often  so  deli- 
cately engraved  as  to  present  the  appearance  of  a  surface  of  tone 
rather  than  a  network  of  line. 

Early  Florentine  engraving  is  generally  divided  into  two  groups 
(which,  no  doubt,  represent  different  workshops)  called  the  FINE 
MANNER  and  BROAD  MANNER.  In  the  former  the  shadows  are 
given  by  means  of  close  and  fine  cross-hatchings,  with  a  result 
analogous  to  a  washed  drawing.  In  the  Broad  Manner  the  shading 
is  engraved  in  open  parallel  lines,  sometimes  with  a  short  return 
stroke  laid  at  an  acute  angle  between  the  parallels,  after  the  manner 
of  a  drawing  in  pen  and  ink.  Now  comparison  of  engravings  in  the 
Fine  Manner  such  as  the  Libyan  Sibyl  (xxxiv  and  xxxv)  with 
a  niello  shows  the  elements  of  an  absolutely  similar  technique.  So 
whether  Finiguerra  or  another  received  the  first  idea  of  engraving 
proper  from  pulling  impressions  from  niello-plates  or  not,  it  must  be 
admitted  that  the  development  of  line-engraving  in  Florence  went 
hand-in-hand  with  the  methods  employed  by  the  niello-worker. 

The  general  conclusion  of  Sir  Sidney  Colvin's  arguments  in  relation 
to  Finiguerra  is  that  the  earlier  specimens  of  the  Fine  Manner  group, 
such  as  the  Wild  Animals  Hunting  and  Fighting  (xvn),  the  Road  to 
Calvary  and  the  Crucifixion  (xvill),  and  the  Judgment  Hall  of  Pilate 
(xix),  are  by  Maso  Finiguerra  himself.  They  are  so  closely  related 

'  The  largest  collection  of  these  Florentine  nielli  is  that  of  Baron 
Edmond  de  Rothschild,  Paris  (from  the  Salamanca  Collection). 

7 


GREAT  ENGRAVERS 

in  style  to  a  series  of  drawings  in  Florence  (traditionally  attributed 
to  Finiguerra),  to  the  group  of  Florentine  nielli  which  are  also 
probably  of  the  same  workshop,  and  to  the  intarsia  panels  in  the 
Sacristy  of  the  Duomo,  whose  designs  are  known  to  have  been 
partly  due  to  Finiguerra,  that  there  seems  every  reason  to  regard 
them  as  the  engravings  which,  according  to  Vasari,  Finiguerra 
produced.  Another  clinching  document  is  the  book  of  drawings 
forming  a  sort  of  "Chronicle  of  the  World"  (acquired  from  Mr. 
Ruskin  for  the  British  Museum  in  1888),  whose  style  is  incontestably 
that  of  a  goldsmith  of  the  same  workshop  as  the  drawings  in  the 
Uffizi.  Several  of  the  designs  in  the  book  have  been  turned  to 
account  in  the  engravings  of  the  school,  e.g.  in  the  Cretan  Labyrinth 
(xx)  and  in  various  plates  of  the  series  of  Otto  Prints  (see  xxm 
and  xxi v).  That  the  subject  of  the  Cretan  Labyrinth  has  been 
reversed,  elaborated,  and  completed  with  another  figure  in  the 
engraving  makes  it  in  the  highest  degree  unlikely  that  the  drawings 
are  merely  copies  from  the  prints. 

It  is  interesting  to  note  in  another  plate  of  the  school,  the  Mercury 
from  the  series  of  Planets  (xxn),  a  goldsmith  in  his  shop  actually 
engaged  in  engraving  a  copper-plate.  The  shop  and  its  contents 
reflect  in  many  details  what  we  know  of  Finiguerra's  workshop. 

The  chief  argument  against  the  literal  truth  of  Vasari's  relation 
of  Finiguerra's  discovery  of  engraving  is  the  existence  of  a  number 
of  Italian  engravings  which  seem  considerably  more  primitive  than 
those  attributed  to  Finiguerra.  This  primitive  group  is  illustrated  on 
plates  x— xv.  The  outstanding  characteristics  of  the  MASTER  OF 
THE  LARGER  VIENNA  PASSION  (as  I  have  ventured  to  call  him  from 
a  unique  series  in  the  Albertina,  Vienna)  is  coarse  line-work, 
exaggeration  of  muscular  structure,  complex  drapery  with  broken 
bulging  folds,  and  a  harsh  energy  of  character  and  expression  in  the 
face  and  hands  that  point  to  the  influence  of  Andrea  del  Castagno. 
His  fondness  for  elaborate  and  overladen  ornament,  and  a  tendency 
to  throw  his  figures  into  relief  by  a  border  of  shadow,  betray  the 
hand  of  a  goldsmith.  His  apparently  later  prints  (e.g.  the  Triumphs 
of  Petrarch^  which  must  not  be  confused  with  the  better-known  series 
in  the  Broad  Manner)  come  much  nearer  the  style  of  Finiguerra,  and 
reflect  more  romantic  and  fantastic  elements  borrowed  from  the  style 
of  Pesellino  and  Baldovinetti.  The  earliest  of  the  Italian  engravings 
to  bear  a  date  is  a  Resurrection  of  1461  (xv),  and  although  this  is  cer- 
tainly later  than  the  Larger  Vienna  Passion  it  is  not  likely  that  any  of  the 
known  Italian  prints  go  back  much  before  the  middle  of  the  century. 
8 


ANDREA  MANTEGNA 

Apart  from  the  great  probability  of  the  connection  of  a  large  part 
of  the  Fine  Manner  prints  with  Finiguerra  and  his  workshop  (which 
is  known  to  have  been  carried  on  by  his  brothers  and  nephews  until 
1498),  it  is  difficult  to  come  to  any  conclusion  as  to  authorship. 
Vasari  states  that  Finiguerra's  successor  in  the  Florentine  school  of 
engraving  was  Baccio  Baldini,  "  who,  not  having  much  power  of 
invention,  worked  chiefly  after  designs  by  Botticelli."  There  are 
designs  by  Botticelli  in  both  the  Fine  and  Broad  Manners,  so  that  if, 
as  seems  a  priori  more  natural,  the  Finiguerra  family  carried  on 
Maso's  tradition,  then  Baldini  may  perhaps  be  the  head  of  the  Broad 
Manner  workshop,  whose  prints  date  somewhat  later  than  Finiguerra 
(i.e.  from  about  14/0).  Recent  discovery  of  the  inventory  (1528)  of 
a  Florentine  mercer,  Alessandro  di  Francesco  Rosselli,  a  son  of 
Francesco  Rosselli,  who  is  described  as  an  illuminator  and  printer, 
throws  a  somewhat  new  light  on  the  question.  Besides  a  large 
number  of  unidentified  woodcuts,  chiefly  maps  and  views,  it  also 
contains  several  of  the  best-known  plates,  in  the  Broad  and  Fine 
Manners.  It  is  conceivable  that  Francesco  Rosselli  (a  brother  of  the 
better-known  Cosimo  Rosselli)  may  himself  have  been  the  master 
of  the  Broad  Manner  workshop. 

The  principal  Broad  Manner  prints,  the  series  of  the  Life  of  the  Virgin 
and  of  Christ,  and  the  Triumphs  of  Petrarch  (see  xxvn  and  xxvm), 
are  most  nearly  inspired  by  the  styles  of  Alessio  Baldovinetti  and 
Filippo  Lippi.  The  large  Assumption  of  the  Pit-gin  (xxxn)  is 
perhaps  the  only  Broad  Manner  print  definitely  after  a  design  by 
Botticelli,  but  others,  such  as  the  second  series  of  the  Prophets  and 
Sibyls  (xxxv),  show  his  influence.  A  much  more  immediate 
connection  with  Botticelli  is  the  Fine  Manner  series  of  illustrations 
to  Dante,  made  for  (but  only  partially  used  in)  Landino's  edition  of 
the  Divina  Commedia,  1481. 

Engraving  may  have  started  in  North  Italy  in  the  School  of 
Mantegna  very  soon  after  its  introduction  in  Florence.  Lomazzo, 
who  wrote  a  Treatise  on  Painting,  in  1582,  spoke  of  Mantegna  as 
the  first  Italian  engraver,  and  Vasari,  in  the  first  edition  of  his  Lives, 
almost  implies  as  much,  though  he  revises  his  phraseology  and  adds 
the  story  of  Finiguerra's  discovery  in  his  second  edition,  in  the  added 
Life  of  Marcantonio.  In  his  second  edition,  Vasari  states  that 
Mantegna  only  took  up  engraving  when  in  Rome  (1488-90),  and 
this  from  hearing  of  the  works  of  the  Florentines.  There  is  every 
reason,  however,  to  think  that  there  was  a  regular  school  of  engravers 
in  Mantua  well  before  1475,  the  year  of  a  certain  document  which 

9 


GREAT  ENGRAVERS 

discloses  a  most  interesting  story  of  Mantegna  and  two  engravers, 
Zoan  Andrea  and  Simone  da  Reggio,  who  were  evidently  pirating 
the  master's  designs.  In  technical  style  Mantegna's  engravings  are 
similar  to  the  Florentine  Broad  Manner  group,  or  even  closer  to  the 
one  extant  engraving  by  Pollaiuolo,  the  Battle  of  Naked  Men  (xxxvi), 
reflecting  in  all  essentials  the  manner  of  his  own  pen  drawings. 
Altogether,  some  twenty-five  plates  have  been  attributed  to 
Mantegna,  but  seven  so  far  excel  the  rest  in  quality  that  one  is 
driven  to  the  conclusion  that  the  rest  are  engravings  by  the  masters 
of  the  school  working  after  his  designs.  In  the  authentic  group  the 
outline  is  deep  and  strong,  but  the  return  lines  of  shading  (laid  at  an 
acute  angle  between  the  parallels)  are  so  lightly  scratched  in  the 
copper  as  to  have  lasted  out  very  few  printings.  Early  impressions 
of  Mantegna,  with  the  somewhat  clouded  and  mysterious  tonality 
given  by  the  lighter  lines,  are  of  extreme  rarity,  but  later  impressions, 
where  the  outlines  alone  show  distinctly,  are  by  no  means  infrequently 
met  in  the  sale-room. 

Of  all  the  early  Italian  engravers,  Andrea  Mantegna  is  by  far  the 
most  powerful,  though  scarcely  the  most  human.  Like  many  of  the 
Florentines,  he  was  an  ardent  lover  of  antiquity,  but  his  spirit 
was  far  more  impassive  than  theirs,  and  far  more  like  the  antique 
marble  itself.  His  art  has  a  monumental  dignity  which  the  Floren- 
tines never  possessed,  but  it  lacks  the  freshness  and  inexpressible  charm 
that  pervade  Tuscan  art.  His  was  a  genius  that  would  have  made 
one  of  the  noblest  sculptors  ;  the  engraving  of  the  'Risen  Christ  (XLVIII) 
shows  what  he  might  have  achieved  in  the  field,  but  it  needed  the 
warmth  of  Venetian  colouring  to  give  his  painting  invigorating  life. 

The  fifty  engravings  once  called  the  "  Tarocchi  Cards  of  Man- 
tegna "  (though  they  are  neither  Tarocchi,  nor  cards,  nor  connected 
with  Mantegna)  are  the  most  interesting  and  important  series  of 
anonymous  prints  produced  in  North  Italy  during  the  fifteenth 
century.  They  illustrate  in  five  sections  :  (i)  The  Sorts  and  Con- 
ditions of  Men  ;  (ii)  Apollo  and  the  Muses  ;  (iii)  The  Arts  and 
Sciences;  (iv)  The  Genii  and  Virtues;  and  (v)  The  Planets  and 
Spheres.  The  numbers  and  arrangement  correspond  to  no  known 
game  of  cards,  and  the  existence  of  several  complete  sets  in  con- 
temporary binding  seems  to  show  that  they  were  rather  a  sort  of  book 
of  instruction  and  amusement  for  the  young.  There  are  two 
complete  series,  and  critics  are  entirely  in  disagreement  as  to  which 
is  the  original.  What  is  here  termed  the  original  series  is  much 
more  finely  engraved  than  the  other  set,  more  purely  Ferrarese  in 

10 


ANDREA  MANTEGNA 

character,  more  archaic,  less  realistic,  and  even  less  graceful  in  its 
treatment  of  form,  I  think  there  is  every  reason  to  regard  this  more 
finely  engraved  series  as  of  Ferrarese  origin  of  about  1465,  and 
the  other  set  as  copies  of  a  few  years  later,  by  some  engraver  working 
in  the  style  of  the  Florentine  Fine  Manner  workshop. 

Two  of  the  greatest  names  in  Italian  art  are  represented  in  the 
following  illustrations,  Leonardo  da  Vinci  and  Bramante,  the  famous 
architect  of  St.  Peter's  ;  but  in  both  cases  it  seems  to  me  more 
probable  that  the  prints  attributed  are  engraved  after  and  not  by  the 
respective  masters.  The  charming  Profile  Bust  of  a  Young  Woman 
(FRONTISPIECE)  might  have  been  engraved  by  Zoan  Andrea  after  a 
drawing  by  Leonardo,  and  Nicoletto  da  Modena  might  be  responsible 
for  the  large  Interior  of  Bramante's  design  (LXIII). 

Venetian  work  is  most  purely  illustrated  in  Girolamo  Mocetto, 
who  was  an  assistant  of  Bellini  in  painting,  and  a  close  imitator  of  his 
style.  Jacopo  de'  Barbari  is  another  Venetian  with  a  charming  talent 
for  graceful  figure  composition.  He  also  worked  in  Germany  and  the 
Low  Countries,  and  his  work  has  peculiar  interest  in  reference  to  the 
interchange  of  influence  between  North  and  South.  His  Apollo  and 
Z)/(7W(7(Lxv)very  probably  suggested  Dttrer's  version  of  the  same  subject. 

By  the  beginning  of  the  sixteenth  century,  it  was  more  usually 
the  Italian  who  borrowed  from  Diircr  rather  than  the  reverse,  and  a 
variety  of  copies  and  adaptations  may  be  seen  in  the  work  of 
engravers  such  as  Nicoletto  da  Modena,  Benedetto  Montagna,  Zoan 
Andrea,  and  Giovanni  Antonio  da  Brescia,  while  his  method  of 
engraving  became  the  general  standard  for  imitation. 

The  atmosphere  of  Giorgione  is  exquisitely  rendered  by  Giulio 
Campagnola,  a  Paduan  engraver  who  had  an  early  repute  as  a 
literary  and  musical,  as  well  as  artistic  prodigy.  But  his  pre- 
cocious genius  was  shortlived,  and  his  few  engravings  are  practically 
his  complete  known  work.  He  obtained  the  soft  Giorgionesque 
shadows  by  a  system  of  dots  or  short  flicks  with  the  graver,  which  in 
its  effect  is  an  anticipation  of  stipple. 

There  is  one  other  engraver  to  whom  I  would  specially  refer,  the 
anonymous  master  known  by  his  initials,  I  B  ,  accompanied  by  the 
figure  of  a  bird.  His  plates  are  not  numerous,  but  there  is  an  idyllic 
charm  in  his  Leda  (LXXIV)  and  the  Satyress  with  her  (Children  (LXXV)  that 
renders  them  far  more  attractive  than  many  a  greater  master's  work. 

The  early  Italian  engravers  were  seldom  such  efficient  craftsmen 
as  their  Northern  contemporaries,  but  they  knew  how  to  add  an 
allure  which  more  than  makes  up  for  the  lack  of  technical  power. 

ii 


GREAT  ENGRAVERS 

Marcantonio,  the  most  accomplished  of  the  Italian  engravers  (who 
will  be  illustrated  in  a  separate  volume  of  this  series),  is  the  first 
serious  rival  in  the  South  to  Diirer's  technical  mastery.  Marc- 
antonio himself  largely  worked  after  designs  by  Raphael,  but  he 
preserved  an  individuality  in  his  interpretation  which  almost  permits 
us  to  regard  him  as  a  great  original  engraver.  But  from  his  work 
the  painters  and  the  public  recognised  the  uses  of  reproduction,  and 
the  lesser  engravers  were  for  the  most  part  content  to  quash  their 
originality  and  yield  to  the  demand.  Still  the  true  dignity  of 
engraving  rests  finally  with  the  masters  who  have  used  it  for  their 
original  expression.  And  of  these  the  Italian  Pre-Raphaelites,  in 
spite  of  affectations  and  deficiencies,  will  always  remain  among  the 
most  attractive. 


LIST  OF  PLATES 

The  abbreviations  used  in  this  list:  B.  =  Bartsch  ;  D.  =  Duchesne  ; 
Dut.  =  Dutuit;  P.  =  Passavant;  H.  =  Hind.  The  letters  that  follow  H.  refer 
to  the  sections  of  that  catalogue.  In  the  case  of  unique  prints  the  locality 
of  the  impression  is  given.  The  Roman  number  immediately  following 
each  title  refers  to  place  in  this  volume. 

ATTRIBUTED  TO  LEONARDO  DA  VINCI.  plate    preserved    In    the    National 

Profile  Bust  of  a  Young  Woman.  Museum, Florence,  Florentine,prob- 

Frontispiece.     P.  v.  180,  i.     H.  4  ably  by  Matteo  Dei 

Set    of   eight    panels    of    ornament  Two  Cupids  by  a  Vase.   n.  D.  227. 

fitted  together  to  form   an   orna-  Florentine 

mental  border.     Title-page  border.  The  Concert,     in.  D.  288.    Floren- 

B.   xin.    141,  73.     H.,  A.   ii.  7  tine 

Vienna,  Albertina.    By  Maso  Fini-  Portrait  of  a  Bentivoglio.  iv.  0.350. 

guerra,  or  an  engraver  of  his  school.  Bolognese,    probably    by    Francesco 

Perhaps    designed    to    serve    as    a  Francia 

border  to  the  series  of  "  Planets"  Portrait  of  a  Lady,  v,  Dut.  590  bis. 

see  xxn  Bolognese 

I-IX.   EXAMPLE  OF  NIELLI,  FLOREN-  Portrait  of  a  Lady.    vi.    Dut.   699. 

TINE,  AND  BOLOGNESE,   Nos.  n-ix  Bolognese ;  attributed  to   Peregrino 

BEING      PRINTS      FROM     NIELLO-  da  Cesena 

PLATES  Orpheus,   vn.   D.    255.    Bolognese; 

The   Coronation   of  the  Virgin,  i.  attributed  to  Peregrino  da  Cesena 

D.    129.     A  sulphur  cast  (British  Pyramus  and  Thisbe.  vm.   D.  259. 

£M  use  urn)  from  the  original  niello-  Bolog'iese 
12 


ANDREA  MANTEGNA 


Arion  on  the  Dolphin,  ix.  D.  258. 
Bolognese 

X-XVI.  EXAMPLES  OF  THE  EARLIEST 
FLORENTINE  ENGRAVINGS,  FOR  THE 
MOST  PART  ANTERIOR  TO  THOSE 
ATTRIBUTED  TO  FlNIGUERRA.  THEY 
ARE  ENGRAVED  IN  A  STYLE  NEARLY 
APPROACHING  THAT  OF  THE  FlNE 
MANNER.  DATES  ABOUT  1450-60. 
No.  xvi  after  1465 

Christ  carrying  the  Cross,  x.  B.XIII. 
79,  21.  H.  A.  i.  i  (6).  From  the 
Larger  Vienna  Passion  (Vienna, 
Albertina) 

The  Triumph  of  Chastity,  xi.  B. 
xiii.  117,13.  H.A.I.  3(2).  From 
a  series  of  the  Triumphs  of  Petrarch, 
by  the  Master  of  the  Larger  Vienna 
Passion  (Vienna,  Albertina) 

The  Resurrection  with  the  Medici 
badge,  xn.  P.  v.  69,  66.  H.  A.  i.  5. 
Probably  by  the  Master  of  the 
Larger  Vienna  Passion  (British 
Museum') 

Profile  Portrait  of  a  Lady.  xin. 
Chalcogr.  Society,  1887,  No,  I. 
H.  A.  i.  6.  Berlin 

El  gran  Turco.  xiv.  Chalcogr. 
Society,  1888,  No.  13.  H.  A.  i.  7. 
Berlin 

The  Resurrection  with  the  Table 
for  finding  Easter,  xv.  H.  A.  I.  9. 
British  Museum 

Dante  as  Poet  of  the  DivineComedy. 
XVT.  P.  v.  43,  10 1.  H.  A,  i.  23. 
Based  on  Domenico  dl  Michelino's 
painting  (1465)  in  the  Duomo, 
Florence.  Vienna,  Hofbibliothek 

XVII-XXVI.  EXAMPLES  OF  FLOREN- 
TINE ENGRAVINGS  IN  THE  FINE 
MANNER,  attributed  to  Maso 
Finiguerra  and  his  workshop, 
xvn-xx  and  xxu  being  in  all 
probability  by  Finiguerra  himself. 


See  also  title-page  border.  Dates 
about  1460-1480 

Various  Wild  Animals  hunting  and 
fighting,  xvn.  P.  v.  23,  46.  H. 
A.  n.  i.  British  Museum 

The  Road  to  Calvary  and  the  Cruci- 
fixion, xvin.  H.  A.  11.  4.  British 
Museum.  (A  second  version  of  the 
same  subject,  P.  v.  68,  64,  also  in 
the  British  Museum,  is  probably  a 
contemporary  copy] 

The  Judgment  Hall  of  Pilate,  xix. 
P.  v.  41,  98.  H.  A.  ii.  5.  Gotha, 
'Ducal  Museum 

The  Cretan  Labyrinth  :  with  the 
story  of  Theseus  and  Ariadne,  xx. 
P.  v.  44, 105.  H.  A.  n.  10.  British 
Museum 

Triumphal  Procession  of  Bacchus 
and  Ariadne,  xxi.  P.  v.  44,  104. 
H.  A.  n.  ii.  British  ^Museum. 
After  a  design  by  a  close  follower  of 
Botticelli,  possibly  by  Bartolommeo  di 
Giovanni  (Berenson's  "  Alunno  di 
Domenico  ") 

The  Planet  Mercury,  xxii.  P.  v. 
34,66.  H.  A.  in.  6.  One  of  a 
series  of  seven  plates  illustrating 
current  astrological  lore  in  relation  to 
the  Planets  and  their  influences  on 
men 

A  Pair  of  Dancers,  encircled  by  a 
scroll  with  Cupids  and  other 
Figures,  xxui.  B.  xiii.  145,  7. 
H.  A.  iv.  12.  One  of  a  series  of 
designs  (probably  intended  for  the 
decoration  of  box-lids,  etc.)  known  as 
the  "  Otto  Prints" from  the  collector 
to  whom  they  belonged  in  the  \%tb 
century .  This,  and  the  greater  part 
of  the  series,  are  now  in  the  British 
Museum 

Young  Man  and  Woman  holding  up 
a  Sphere,  xxiv.  B.  xin.  148,  17. 

'3 


GREAT  ENGRAVERS 

H.  A.  iv.  13.     Another  example  of 
the  "  Otto  Prints."     Paris 

Two  illustrations  to  Landino's 
edition  of  Dante's  "  Divina 
Commedia,"  Florence,  1481 

Canto  I,  Dante  lost  in  the  Wood  ; 
escaping,  and  meeting  Virgil,  xxv. 
B.  xin.  175,  37.  H.  A.  v.  2  (i). 

Canto  II,  Dante  and  Virgil,  with  the 
Vision  of  Beatrice,  xxvi.  B.  xin. 
175,38.  H.  A.  v.  2(2).  Engraved 
after  Botticelli.  The  plates  were 
only  engraved  for  nineteen  cantos  of 
the  "  Inferno"  andfezv  copies  of  the 
book  contain  more  than  two  of  these 

XXVII-XXXIII.  EXAMPLES  OF 
FLORENTINE  ENGRAVINGS  IN  THE 
BROAD  MANNER 

The  Virgin  presenting  her  Girdle 
to  St.  Thomas,  xxvn.  B.  xin. 
262  and  267,  20.  H.  B.  i.  14. 
From  a  series  of  fifteen  prints  illus- 
trating the  Life  of  the  Virgin  and  of 
Christ 

The  Triumph  of  Love,  xxvni.  B. 
xin.   277,  39.    H.  B.  ii.  i.     From 
a  series  of  the  six  "  Triumphs  of 
Petrarch  " 

The  Temple  of  Solomon  ;  with  the 
Visit  of  the  Queen  of  Sheba. 
xxix.  P.  v.  39,  95.  H.  B.  in.  4 

The  Adoration  of  the  Magi.  xxx. 
P.  v.  40,  96.  H.  B.  in.  6 

The  Virgin  and  Child  enthroned, 
with  St.  Helena  and  St.  Michael. 
xxxi.  P.  v.  108,  33.  H.  B.  in.  9 

The  Assumption  of  the  Virgin. 
xxxn.  B.  xin.  86,  4.  H.  B.  in.  10. 
The  largest  of  all  the  early  Italian 
engravings,  measuring  about  82.5  x 
56  cm.  It  is  almost  certainly  after 
a  design  by  Botticelli. 

St.  George  and  the  Dragon,  xxxui. 
P.  v.  70,  70.  H.  B.  in.  ii. 

H 


The  Libyan  Sibyl,  xxxiv  and  xxxv. 
B.  xin.  172,  26,  and  93,  10.  H., 
c.  ii.  2  A.  and  B.  From  a  series  of  the 
Twelve  Sibyls  originally  engraved 
in  the  Fine  Manner  of  the  Finiguerra 
School  (xxxiv)  and  repeated  in  the 
Broad  Manner  (xxxv) 

ANTONIO  POLLAIUOLO.  Battle  of 
Naked  Men.  xxxvi.  B.  2.  H.  i 

CRISTOFANO  ROBETTA.  The  Two 
Muses,  xxxvii.  B.  23.  H.  17. 

Erato,  in  two  versions,  xxxvni  and 
xxxix.  From  two  series  of  fifty  in- 
structive cards  erroneously  called  the 
"  Tarocchi  Cards  ofMantegna."  B. 

XIII.      12O,   18-67.      H.   E.   I.I-5O. 

xxxvm  :  Original  series.  Ferrarese, 
about  1465.  xxxix  :  Second  series. 
Copied,  probably  by  a  Florentine  Fine 
Manner  engraver,  from  the  original 
series 

Queen  of  Staves  (Bastoni,  Dama).  XL. 
P.  v.  132,  31.  H.  E.  ii.  41.  From 
a  complete  series  of  Fei  rarese  Tarocchi. 
The  only  complete  series  is  in  the 
collection  of  Count  Sola,  Milan 

Portrait  of  a  Lady.  XLI.  P.  v.  53,  I. 
H.  E.  in.  214  By  an  anonymous 
Lombard  engraver  of  about  1500 

ANDREA  MANTEGNA.  The  Virgin 
and  Child.  XLII.  B.  8.  H.  i 

Bacchanalian  Group  with  Silenus. 
XLIII.  B.  20.  H.  2 

Bacchanalian  Group  with  a  Wine- 
press, XLIV.  B.  19.  H,  3« 

Battle  of  Sea-gods  :  the  left  portion 
of  a  frieze.  XLV,  B.  1 8.  H.  4. 

Battle  of  Sea-gods  :  the  right  portion 
of  a  frieze.  XLVI.  B.  17.  H.  5 

The  Entombment  (horizontal  plate). 
XLVII.  B.  3.  H.  6 

The  Risen  Christ  between  St.  Andrew 
and  St.  Longinus.  XLVIII,  B.  6. 
H.7 


ANDREA  MANTEGNA 


SCHOOL  OF  MANTKGNA 

The  Triumph  of  Cssar :  the  Ele- 
phants. XLIX.  B.  12.  H.  I.  This 
and  the  following  are  based  on  two  of 
the  series  of  nine  cartoons  noiv  pre- 
served in  Hampton  Court,  or  on  lost 
original  designs  for  the  same.  There 
is  a  third  engraving  uf  the  Senators, 
tvhich  is  not  among  the  subjects  of  the 
cartoons 

The  Triumph  of  Caesar :  Soldiers 
carrying  Trophies.  L.  B.  I  3  H.  2 

The  Scourging  of  Christ  (with  the 
pavement).  LI.  B.  i.H.if.  There 
is  a  contemporary  copy  with  land- 
scape background 

Christ  descending  into  Hell.  LII. 
B.  5.  H.  5 

Christ  taken  down  from  the  Cross. 
LIII.  B.  4.  H.  6.  Unfinished  state 

The  Entombment  (with  the  three 
Birds),  LIV.  B.  2.  H.  7 

The    Adoration    of  the  Magi  (the 

"Virgin    in    the    Grotto").     LV. 

B.  9.    H.   8.     After   the   central 

panel  of  Mantegna's  triptych  in  the 

Uffizi 

Four  Women  Dancing.  LVI.  B. 
1 8  (Zoan  Andrea).  H.  1 1 

GIOVANNI  ANTONIO  DA  BRESCIA.  The 
Holy  Family  with  the  Infant  St. 
John.  LVII.  B.  5.  H.  4.  Second 
state  (with  cross-hatchings  in  the 
background) 

ZOAN  ANDREA.  Two  upright  ara- 
besques on  a  dark  ground.  LVIII 
and  LIX.  P.  v.  83,  48.  H.  17, 
A  and  B. 

Upright  Arabesque,  from  a  series  of 
Tzvefoe  Arabesques  of  which  three 
are  by  Zoan  Andrea,  and  nine  by 
the  Master  of  the  Sforza  Bock  of 
Hours.  LX.  B.  xin.  307,  24.  H. 
p.  398,  4. 


MASTER    OF   THE    SFORZA   BOOK   OF 

HOURS.     The  Virgin   and  Child 

with  two  Angels  in  a  Landscape. 

LXI.     B.  xin.  85,  3.     H.  I 
After  LKONARDO  DA  VINCI.     Profile 

Bust   of  a   Young  Woman.    P.  v. 

1 80,  i.  H.  4.   See  Frontispiece 
Profile  Bust   of  a    Young    Woman 

with  a  Garland  of  Ivy.     LXII.    P. 

v.  1 80,  2.  H.  5 
After    DONATO     BRAMANTE.       The 

Interior  of  a  ruined  Church,  or 

Temple,  with  Figures.    LXIII.    P. 

v.  177,  i.  H.  I 

NlCOLETTO        ROSEX       DA       MoUENA. 

Orpheus.  LXIV.  B.  53.  H.  25 
JACOPO   DE'    BARBARI.     Apollo   and 

Diana.  LXV.  B.  16.  H.  14 
A  Satyr  playing  the  Fiddle.     LXVI. 

B.  13.  H.  19 
A  Satyr  with  a  Wine-skin.      LXVII. 

B.  14.  H.  20 
GIROLAMO  MOCETTO.     The  Calumny 

of  Apelles.     LXVIII.     B.  xin.   113, 

10.  H.  9.  First  state 
BENEDETTO  MONTAGNA. 
The  Sacrifice  of  Abraham.  LXIX. 

B.  i.  H.  i 

Apollo  and  Pan.  LXX.  B.  22.  H.  37 
GIULIO    CAMPAGNOLA.     Christ   and 

the    Woman    of  Samaria.     LXXI. 

B.  2.  H.  i 

DOMENICO  CAMPAGNOLA.   The  Shep- 
herd and  the  Old  Warrior.  LXXII. 

B  8.  H.  9 
GIULIO  AND  DOMENICO  CAMPAGNOLA. 

Shepherds  in  a  Landscape.    LXXIII. 

B.    9     (Domenico    C.).     H.     II 

(Giulio  C.). 

THE  MASTKR  I  B  (WITH  THE  BIRD). 
Lcda  and  her  Children.     LXXIV.     B. 

3-  H  3. 

Satyress  with   her  Children.     LXXV. 
B.  2.  H.  6 

15 


I.  THE  CORONATION  OF  THE  VIRGIN.    SULPHUR  CAST  OF  A 
NIELLO,  PROBABLY  BY  MATTEO  DEI.  D.  129 


M.  1 


NIELLO-PRINTS 
II.  TWO  CUPIDS  BY  A  VASE.    D.  227.    Florentine 

III.  THE  CONCERT.    D.  288.    Florentine 

IV.  PORTRAIT  OF  A  BENTIVOGLIO.    D.   350.      Bolognese ; 

probably  by  Francesco  Francia 

V.  PORTRAIT  OF  A  LADY.    Dut.  590  bis.    Bolognese 

VI.  PORTRAIT  OF  A  LADY.    Dut.  699.    Bolognese  ;   attributed 
to  Peregrino  da  Cesena 

VII.  ORPHEUS.    D.  255.     Bolognese  ;    attributed  to  Peregrino  da 
Cesena 

VIII.  PYRAMUS  AND  THISBE.    D.  259.    Bolognese 
IX.  ARION  ON  THE  DOLPHIN.    D.  258.    Bolognese 


X.  EARLY  FLORENTINE  ENGRAVING.  CHRIST  CARRYING  THE 
CROSS,  FROM  THE  LARGER  VIENNA  PASSION.  B.  xin.  79, 
21.  Vienna  (Albertina) 


BARN ABA! |RM 

TDI&IT  VT  CRV<  i 


XL  EARLY  FLORENTINE  ENGRAVING.  THE  TRIUMPH  OF  CHAS- 
TITY.   B.xm,  117, 13  . 
By  the  Master  of  the  Larger  Vienna  Passion.    Vienna  (Albertma) 


XII  EARLY  FLORENTINE  ENGRAVING.     THE  RESURRECTION 
WITH  THE  MEDICI  BADGE.  P.  v.  69, 66 
Probably  by  the  Master  of  the  Larger  Vienna  Passion.  British  Museum 


XIII.  ANONYMOUS  EARLY  FLORENTINE  ENGRAVING.  PROFILE 
PORTRAIT  OF  A  LADY.    Berlin 


XIV.  ANONYMOUS  EARLY  FLORENTINE  ENGRAVING.  EL  GRAN 
TURCO.     Berlin 


XV.  ANONYMOUS,  FLORENTINE.     THE  RESURRECTION   WITH 
THE  TABLE  FOR  FINDING  EASTER 
The  earliest  Italian  engraving  to  bear  a  date  (1461).  British  Museum 


_ 

ANN° 


VEDat^DtSOPRA  APtE-+tT-pej  At^NOVERAIE  Ptt 
ANNO  U$C!AN»0-LACHASflLA  DoVH STATO-QVETANNT" 

|gJRA  ';<CHE  l'! 'HLAjSARAJTCHOSI -OMMN-I?  I 

1  STATA 

k  UI.E Tf  PsM  B  SfffNiHcS'-CHETO^E  LL ANNO  SARA  l"  NSi 


XVI.  ANONYMOUS  EARLY  FLORENTINE  ENGRAVING.  DANTE 
AS  POET  OF  THE  DIVINE  COMEDY.  P.  v.  43,  101.  Vienna 
(Hofbibliothek) 


H,  2 


XVII.  FLORENTINE  ENGRAVING  IN  THE  FINE  MANNER,  ATTRI- 
BUTED TO  MASO  FINIGUERRA.  VARIOUS  WILD  ANIMALS 
HUNTING  AND  FIGHTING.  P.  v.  23,  46.  British  Museum 

Goldsmith,  niellist,  and  engraver;  b.  Florence  1426;  d.  1464 


:? 


; 


«r^*5S%J //>./»  >          <x--  V-  ,       J  i-  1 


XVIII.  FLORENTINE  ENGRAVING  IN  THE  FINE  MANNER,  ATTRI- 
BUTED TO  MASO  FINIGUERRA.  THE  ROAD  TO  CAL- 
VARY AND  THE  CRUCIFIXION.  British  Museum 


XIX.  FLORENTINE  ENGRAVING  IN  THE  FINE  MANNER,  ATTRI- 
BUTED TO  MASO  FINIGUERRA.  THE  JUDGMENT  HALL 
OF  PILATE.  P.  v.  41,  98.  Gotha 


XX.  FLORENTINE  ENGRAVING  IN  THE  FINE  MANNER,  ATTRI- 
BUTED TO  THE  SCHOOL  OF  FINIGUERRA.  THE  CRETAN 
LABYRINTH, WITH  THE  STORY  OF  THESEUS  AND  ARIADNE 
P.  v.  44,  105.  British  Museum 


XXI.  FLORENTINE  ENGRAVING  IN  THE  FINE  MANNER,  ATTRI- 
BUTED TO  THE  SCHOOL  OF  FINTGUERRA.  TRIUMPHAL 
PROCESSION  OF  BACCHUS  AND  ARIADNE.  P.  v.  44,  104. 

British  Museum 


F.  7 


XXII.  FLORENTINE  ENGRAVING  IN  THE  FINE  MANNER,  ATTRI- 
BUTED TO  MASO  FINIGUERRA,  OR  HIS  SCHOOL.  THE 
PLANET  MERCURY.  P.  v.  34,  66 


/\HKCVWO  E  P1AJIHTO  ASAZCHVUNO  PoZTO  NfcUKDHOOCIilO 
2^A  2JCITA  E/\OLTC<  PA22IVA  IVIEFR&X)  CONTVEGU  eSNONrcHZoNOFRfDDIWMUO  COO 
tl  V7AIOI  f  LOWiffTE  IHGtWONlOZO  AM  A  LfeClfNfll  /MTI/V^TICA  U3TIVCIA  NHUDIV1 
HAfOHE  A  IICOWO  CPACat  COI  eCHlITTo  I  Lb«  iO  TTltl  IZTATVfA  CHONMVnsCI 
AMIAillAlARGUNTO  VIVO  tLDI  «vo  E  /vtfUCOU&l  COILA.  fN/AA  OKA  >-l/'tZ3 
LAflOTTE  IVA  EOILPI  Of  IIADO/AEHICHA  APIKA/AJCO  U3OLI  PfP.  NI/AICO  AVtllf 
TK3NI  BVI^OO  LA?V  /-XOftTf  i3\.tR.f>  NVAMMAI ION* 

AM/  t>ioi  VIKC<>   niNorrf  VA  f  t.z  ifti''^:  11:  ^ 

•   -'  OIU 

^ 


XXIII.  FLORENTINE  ENGRAVING  IN  THE  FINE  MANNER,  AT- 
TRIBUTED TO  THE  SCHOOL  OF  FINIGUERRA.   A  PAIR 
OF  DANCERS,  ENCIRCLED  BY  A  SCROLL  WITH  CUPIDS 
AND  OTHER  FIGURES 
From  the  "  Otto  Prints."  B.  xiu.  145,  7.  British  Museum 


XXIV  FLORENTINE  ENGRAVING  IN  THE  FINE  MANNER,  AT- 
TRIBUTED TO  THE  SCHOOL  OF  FINTGUERRA.   YOUNG 
MAN  AND  WOMAN  HOLDING  UP  A  SPHERE 
From  the  "  Otto  Prints."   B.  xm.  148,  17.  Paris 


M.3 


FLORENTINE  ENGRAVINGS  IN  THE  FINE  MANNER,  ATTRI- 
BUTED TO  THE  SCHOOL  OF  FINIGUERRA.  TWO  ILLUSTRA- 
TIONS TO  LANDING'S  EDITION  OF  DANTE'S  DIVINA  COM- 
MEDIA,  FLORENCE,  1481.  B.  xm.  175,  37  and  38 

XXV.  CANTO  I.  DANTE  LOST  IN  THE  WOOD  ;   ESCAPING, 
AND  MEETING  VIRGIL 

XXVI.  CANTO  II.    DANTE  AND  VIRGIL,  WITH  THE  VISION 
OF  BEATRICE 


XXV 


XXVI 


XXVII.  FLORENTINE   ENGRAVING   IN   THE   BROAD   MANNER. 
THE    VIRGIN    PRESENTING    HER    GIRDLE    TO    ST. 
THOMAS.  B.  xni.  262  and  267,  20 
From  the  series  of  the  "  Life  of  the  Virgin  and  of  Christ " 


XXVIII.  FLORENTINE  ENGRAVING  IN  THE  BROAD  MANNER. 
THE  TRIUMPH  OF  LOVE.  B.  xm.  277,  39  ^ 
From  the  series  of  the  "  Triumphs  of  Petrarch  " 


)  ufftottolwrcMmofKJocHMnuamoix  E  i  n<ui|uc  d<xjo  <*•  Ji  Ukiuu  Kutna--    ' 

Amawrfio«v>«u*di-a<uec<rjimej!to  Nmntodi  pcnfitrdola  B^fonui' 

i'ltno  il>omt.not>roSgnoir  latiofignor^diodascnit uana 


XXIX.  FLORENTINE  ENGRAVING  IN  THE  BROAD  MANNER. 
THE  TEMPLE  OF  SOLOMON,  WITH  THE  VISIT -OF  THE 
QUEEN  OF  SHEBA.  P.  v.  39,  95 


XXX.  FLORENTINE    ENGRAVING    IN    THE    BROAD    MANNER. 
THE  ADORATION  OF  THE  MAGI.  P.  v.  40,  96 


XXXI.  FLORENTINE  ENGRAVING  IN  THE  BROAD  MANNER. 
THE  VIRGIN  AND  CHILD  ENTHRONED,  WITH  ST. 
HELENA  AND  ST.  MICHAEL.  P.  v.  108,  33 


JQ.VAMV1DES  HIUNAMAMPLKTI-LACTA.  MARIA  FILIVMTWiM.CREAJb       Pd.  INCE  PS-GIOR.1OSISIME- 


.fSf-XPI \NOHciM Vp.O*AN01^yci51A  IU /A  TV  VI.  ACT  A  PAN  EM  C£ll  LACTA  tMCHXE.UAR.CA.GE 

'l^o«.T,VD^.RlSVRSrnOCtcD^-OVK  PRJETIVM-MVNDI-PRtBtLAMBtN  Mt  M.OR/NOSTRJ  H  K    ITVI.i 

.  A  CtvtXJ^J^y^fl*'  TI-MAMULAM  VT-I  PSt-P^EAT  Q^S  tM  PtR'PR  tC  AR  I 

OLAK)APJOR-IUf  tCTTONIS  P  LR--CV  r  1 1  N  I  I     M  AX  I  L  L  AM  - 


XXXII.  FLORENTINE  ENGRAVING  IN  THE   BROAD   MANNER. 
THE  ASSUMPTION  OF  THE  VIRGIN.   B.  xm.  86,  4 


XXXIII   FLORENTINE  ENGRAVING  IN  THE  BROAD  MANNER. 
ST.  GEORGE  AND  THE  DRAGON.    P.  v.  70,  70 


M.4 


THE  LIBYAN  SIBYL,  IN  TWO  VERSIONS.    B.  xni,  172,  26,  and  93, 
10. 

From  a  series  of  the  Twelve  Sibyls  originally  engraved  in  the  Fine  Manner 
(xxxiv),  and  repeated  in  the  Broad  Manner  (xxxv) 


XXXVI.  ANTONIO  POLLAIUOLO.  BATTLE  OF  NAKED  MEN  B.  2. 

Goldsmith,  sculptor,  and  painter ;  b.  Florence  1432,  d.  Rome 
1498.  The  most  famous  goldsmith  of  his  time,  his  best-known 
work  being  the  silver  cross  now  preserved  in  the  sacristy  of  the 
Duomo,  Florence.  He  only  produced  the  one  engraving,  which 
is  here  illustrated 


XXXVII.  CRISTOFANO  ROBETTA.    THE  TWO  MUSES.    B.  23 

Goldsmith  and  engraver ;  b.  Florence,  1462  ;  worked  until 
1522.  An  interesting  master  of  a  transition  period,  with  some- 
thing of  the  attraction  of  the  primitive  school,  but  loose  in  his 
technical  handling.  Adapted  in  his  engravings  pictures  by 
Filippino  Lippi  and  Pollaiuolo ;  chiefly  influenced  by  the  style 
of  Filippino 


ERATO,  IN  TWO  VERSIONS 

From  two  series  of  fifty  Instructive  Cards  erroneously  called  the  "  Tarocchi 
Cards  of  Mantegna."  B.  xm.  120,  18-67 
XXXVIII.  Original  series.    Ferrarese 
XXXIX.  Second  series.    Probably  Florentine  copies 


XL.  QUEEN  OF  STAVES.  P.  v.  132,  31 

From  a  series  of  Ferrarese  Tarocchi,  complete  only  in  the  collection 
of  Count  Sola,  Milan 


XLI.  PORTRAIT  OF  A  LADY.    P.  v,  53,  i.    By  an  anonymous  Lombard 
engraver 


XLII.  ANDREA  MANTEGNA.  THE  VIRGIN  AND  CHILD.  B.  8 

Painter  and  engraver  ;  b.  Vicenza,  1431  ;  w.  Padua,  Mantua,  and 
for  a  short  time  in  Rome ;  d.  Mantua,  1506.  The  greatest  of  the 
early  Italian  engravers 


XLIII.  ANDREA  MANTEGNA.     BACCHANALIAN  GROUP  WITH 
SILENUS.   B.  20 


M.  5 


XLIV.  ANDREA  MAXTEGNA.    BACCHANALIAN  GROUP  WITH  A 
WINE-PRESS.   B.  19 


XLV.  ANDREA  MANTEGNA.   BATTLE  OF  SEA-GODS.  THE  LEFT 
PORTION  OF  A  FRIEZE.  B.  18 


XLVI.  ANDREA  MANTEGNA.  BATTLE  OF  SEA-GODS.  THE  RIGHT 
PORTION  OF  A  FRIEZE.    B.  17 


XLVII.  ANDREA  MANTEGNA.      THE  ENTOMBMENT  (horizontal 
plate).    B.  3 


XLVIII.  ANDREA  MANTEGNA.     THE  RISEN  CHRIST  BETWEEN 
ST.  ANDREW  AND  ST.  LONGINUS.   B.  6 


XLIX.  SCHOOL  OF  MANTEGNA.     THE  TRIUMPH  OF  O£S\R 
THE  ELEPHANTS.   B.  12 


L.  SCHOOL  OF  MAXTEGXA.    THE  TRIUMPH  OF  CESAR : 
DIERS  CARRYIXG  TROPHIES.    B.  13 


LI.  SCHOOL  OF  MANTEGXA.     THE  SCOURGIXG  OF  CHRIST 
(WITH  THE  PAVEMENT).  B.  i 


M.   6 


LII.  SCHOOL  OF  MANTEGNA.  CHRIST  DESCENDING  INTO  HELL. 
B-5 


LIII    SCHOOL  OF  MANTEGNA.     CHRIST  TAKEN  DOWN  FROM 
THE  CROSS.    B.  4 


LIV.  SCHOOL  OF  MANTEGNA.  THE  ENTOMBMENT  (WITH  THE 
THREE  BIRDS).    B.  2 


• 


LV.  SCHOOL  OF  MANTEGNA.    THE  ADORATION  OF  THE  MAGI. 
B.  9 


LVI.  SCHOOL  OF  MANTEGNA.    FOUR  WOMEN  DANCING.   B.  18 

(Zoan  Andrea) 


LVII.  GIOVANNI  ANTONIO  DA  BRESCIA.    THE  HOLY  FAMILY 
WITH  THE  INFANT  ST.  JOHN.  B.  5 

Engraver;  w.  from  about  1500  (or  earlier)  until  after  1516;  first 
in  Brescia  and  the  north  of  Italy,  under  Mantegna's  influence  and 
in  that  master's  style,  and  later  in  Rome,  where  he  adopted  the 
technical  manner  of  Marcantonio 


LVII1  AND  LIX.  ZOAN  ANDREA.    TWO  UPRIGHT  ARABESQUES. 

P.  v.  83,  48 
LX.  ZOAN  ANDREA.  UPRIGHT  ARABESQUE.  B.  24 

Engraver;  w.  ab.  1475-1505  ;  first  in  Mantua  under  Mantegna's 
influence  ;  later  probably  in  Milan,  in  a  finer  technical  manner 
more  akin  to  that  of  the  miniaturist,  the  Master  of  the  'Sforza  Book 
of  Hours 


LVIII 


LX 


LIX 


LXI.  MASTER  OF  THE  « SFORZA  BOOK  OF  HOURS."  THE 
VIRGIN  AND  CHILD  WITH  TWO  ANGELS  IN  A  LAND- 
SCAPE. B.  xiu.  85,  3 

Several  engravings  have  been  attributed  on  the  basis  of  similarity  of 
style  to  the  Milanese  artist  who  is  responsible  for  the  miniatures  of 
the  Sforza  Book  of  Hours  now  preserved  in  the  British  Museum.  He 
has  been  sometimes  called  Antonio  da  Monza,  but  with  insufficient 
reason.  He  worked  in  collaboration  with  Zoan  Andrea,  doing  nine 
of  the  series  of  twelve  upright  arabesques,  one  of  which  is  illustrated 
on  the  preceding  plate.  He  did  one  of  the  earliest  engravings  after 
Leonardo's  Last  Supper 


M.  7 


LXII.  AFTER  LEONARDO  DA  VINCI.  PROFILE  BUST  OF  A  YOUNG 
WOMAN  WITH  A  GARLAND  OF  IVY.  P.  v.  180,  2 

Painter ;  b.  Vinci  (near  Empoli)  1452  ;  pupil  of  Vefrocchio  in 
Florence  ;  in  Milan  from  ab.  1483-1499,  where  he  painted  his  most 
famous  work,  the  Last  Supper  ;  returned  to  Florence  1500;  from 
1506  to  1^12  working  in  the  service  of  Louis  XII,  chiefly  in  Lom- 
bardy  ;  in  Rome  1513-15;  from  1516  until  his  death  in  1519  settled 
at  Amboise  in  the  service  of  Francis  I  of  France 


<\ 


LXIII.  AFTER  DONATO  BRAMANTE.  THE  INTERIOR  OF  A  RUINED 
CHURCH,  OR  TEMPLE,  WITH  FIGURES.  P.  v.  177,  i 

The  famous  architect  of  St.  Peter's  ;  b.  near  Urbino,  ab.  1444; 
w.  in  Milan  and  other  parts  of  Lombard/  from  before  1477  until 
1499  ;  then  in  Rome,  where  he  died  1514 


LXIV.  NICOLETTO  ROSEX  DA  MODENA.   ORPHEUS.   B.  53 

Engraver.  No  details  of  his  biography  known  ;  three  of  his  prints 
are  dated,  1500,  i^oi,  and  1512.  His  earlier  work  in  the  more  open 
manner  (of  which  the  Orpheus  is  an  example)  is  based  on  Mantegna's 
style  ;  his  later  prints,  in  which  a  single  figure  is  often  placed  in  a 
landscape  with  a  setting  of  classical  ruin,  are  generally  smaller,  and 
engraved  more  in  Durer's  method 


LXV.  JACOPO  DE'  BARBARI.  APOLLO  AND  DIANA.  B.  16 

Painter,  engraver,  and  designer  of  woodcuts ;  b.  Venice  between  1440 
and  1450;  1500-1508  w.  in  Germany,  and  afterwards  in  the 
Netherlands,  where  he  died  before  1516 


LXVI.  JACOPODE'BARBARI.  A  SATYR  PLAYING  ON  THE  FIDDLE. 

B.  13 
LXVII.  JACOPODE'BARBARI.  A  SATYR  WITH  A  WINE-SKIN.  6.14 


LXVIII.  GIROLAMO  MOCETTO.     THE  CALUMNY  OF  APELLES. 
B.  xiii.  113,  10 

Painter  and  engraver  ;  b.  Murano  before  1458  ;  w.in  Venice  until 
after  1530.  According  to  Vasari  he  was  an  assistant  of  Giovanni 
Bellini 


LXIX.  BENEDETTO  MONTAGNA.  THE  SACRIFICE  OF  ABRAHAM. 
B.I 

Engraver  and  painter;  w.  Vicenza  from  ab.  1500  until  after  1540. 
A  son  of  Bartolommeo  Montagna,  the  leading  painter  of  the  school 
of  Vicenza.  His  earlier  engravings  are  in  the  open  lineal  manner  ex- 
emplified in  the  present  plate  ;  his  later  prints  are  for  the  most  part 
smaller  compositions,  and,  like  Nicoletto  da  Modena's  later  work, 
engraved  more  in  the  manner  of  Diirer.  Many  of  these  later  plates, 
such  as  the.d  polio  and  Pan,  are  illustrations  of  Ovid's  "  Metamor- 
phoses," but  they  are  not  known  to  have  been  used  in  any  edition 


LXX.  BENEDETTO  MONTAGNA.   APOLLO  AND  PAN.   B.  22 


M.  8 


LXXI.  GIULIO  CAMPAGXOLA.    CHRIST  AND  THE  WOMAN  OF 
SAMARIA.  B.2 

Engraver ;  b.  Padua  ab.  1482 ;  w.  at  Ferrara  and  Venice ; 
d.  soon  after  1514.  In  his  method  of  using  dots  (or  rather,  short 
flicks)  in  his  engraving  he  anticipated  the  process  of  stipple,  and 
rendered  with  wonderful  feeling  the  atmosphere  of  Giorgione's  paint- 
ings 


LXXII.  DOMENICO  CAMPAGNOLA.    THE  SHEPHERD  AND  THE 
OLD  WARRIOR.   B.  8 

Painter,  engraver,  and  designer  ,  of  woodcuts ;  w.  Padua  from 
1511  until  after  1563  ;  acted  as  Titian's  assistant  in  1511  in  the 
frescoes  in  the  Scuola  del  Carmine  and  the  Scuola  del  Santo  in 
Padua.  Probably  a  pupil  of  Giulio  Campagnola,  if  not  a  close 
relation.  In  plate  LXXIII,  the  Shepherds  in  a  Landscape,  the  figures 
are  by  Domenico,  the  landscape  by  Giulio.  Domenico  probably 
completed  a  plate  left  unfinished  by  Giulio  at  his  death 


LXXIII.  GIULIO  AND  DOMENICO  CAMPAGNOLA.     SHEPHERDS 
IN  A  LANDSCAPE.  6.9 


LXXIV.  THE  MASTER  I  B  (WITH  THE  BIRD).    LEDA  AND  HER 
CHILDREN.   B.  3 

Engraver;  w.  ab.  1500,  possibly  in  the  neighbourhood  of 
Bologna.  Has  been  identified  with  a  certain  Giovanni  Battista  del 
Porto  of  Modena,  but  there  is  little  foundation  for  the  identifica- 
tion 


LXXV.  THE  MASTER  I  B  (WITH  THE  BIRD).     SATYRESS  WITH 
HER  CHILDREN.  B.  2 


PRINTED  AT  THE  BALLANTYNE  PRESS  LONDON 


